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If there is an acid test for Anu Malik this season or in fact this decade, it has to be with 'Umrao Jaan'. The man has seen enough highs and lows in his decades old career so far but the music of 'Umrao Jaan' is something that would be scrutinized by one and all. And why not? After all the tracks from Khayyam's 'Umrao Jaan' are still being appreciated by the connoisseurs of classical Indian music and it is certainly no mean feat to match. Hence when J.P. Dutta picks up the baton to narrate the story while roping in Anu Malik and Javed Akhtar saab, one can't help but look at each and every track with keen interest. Also with Aishwarya Rai being the central protagonist along with Abhishek Bachchan, Shabana Azmi and Suneil Shetty, one can't help but have mammoth expectations from the film and its music.

So does the team deliver? Does it come close to the classic score from the yesteryears or at least form an identity of its own without worrying about the past? Will Anu Malik have another successful score after 'Jaan-E-Mann'? The answer to each of the questions is yes!

Before one starts hearing the tracks, first thing that strikes on looking at the CD cover is the name of Alka Yagnik. She is practically there for each of the tracks except for a couple and bags a biggie as the voice of legendary Umrao Jaan.

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First and foremost she greets you with 'Salaam' and hooks your attention at the very onset. Is it Anu Malik's music, Alka Yagnik's rendition or Javed saab lyrics that make the song special? In fact it's the combination of each of the veterans as they come together to create a mesmerizing 'mujra' track that is in word - flawless. Whether it is a common man or the followers of classical music, the song is going to mesmerize one and all as it hooks on to you in a big way. The setting is just perfect; sets are impeccable, choreography and costumes as per the song's mood while the instruments (ghunghroo, tabla, sitar etc.) create the right ambience to keep you glued to the screen while it is on. A brilliant start to the album!

Sound of 'ghunghroo' begins 'Pehle Pehel' that lives up the class of 'Salaam' and has that lyrical beauty around it that creates such a nice rhythm that it requires a lot of persuasion to move on the next song. Alka Yagnik is extremely controlled in her rendition and at this very moment one starts wishing that 'Umrao Jaan' may just be a befitting follow-up to the National Award winning score of 'Refugee' by Anu Malik, which was again for J.P. Dutta. A love song set in a tantalizing manner (again as a mujra), it is a worthy follow-up to 'Salaam' and turns out to be a beautiful composition.

Anu Malik shows his prowess as a composer with good classical base in the way he creates the arrangements for the opening of 'Behka Diya Humein'. First (and the only) duet in the album, it is poetry all the way as Sonu Nigam pairs up with Alka Yagnik. Though the song's beginning is a trifle close to Jaidev composed and Suresh Wadekar sung 'Seene Mein Jalan' from the film 'Gaman' (which was incidentally made by Muzaffar Ali himself), it restricts itself to being an inspiration rather than a copy. The setting is changed completely for this love song that is dreamy all the way, courtesy the sound of the song that has a slight echo effect imparted to the vocals of the lead singers. Sheer poetry coupled with some honest music sans any unwanted ingredients, the album so far is for those who wish to be traversed to a different world altogether.

Alka Yagnik returns to croon a solo in the form of 'Jhute Ilzaam'. The first thing that captivates you about the song is its opening line that sets the pace for rest of the song. 'Jhute Ilzaam Meri Jaan Lagaya Naa Karo, Dil Hai Nazuk Isse Tum Aise Dukhaya Naa Karo' - once you have heard this you know that it is going to be one touching song about Umrao Jaan's feelings for her love. Appropriate for the film's setting, it does have a slight deja vu feel but one doesn't mind that at all since it is just apt for a song like this in a film that tells the story of a courtesan. In all the songs heard so far, 'Jhute Ilzaam' is undoubtedly the best penned by Javed Akhtar saab as it maintains its lyrical quality from beginning to the end.

"If I am unable to meet you again in the future, do not think about me" - that's the message that Umrao Jaan tries to convey in 'Main Na Mil Saku Jo Tumse', a song that boasts of being seamlessly integrated into the mood of the album. Never once in the entire album does a song look out of place as Anu Malik maintains a consistent tempo throughout while still managing to bring in something new in each of the compositions. 'Main Na Mil Saku Jo Tumse' also transitions well from the songs preceding it and one looks forward to check out what's next in store from this album that has impressed all this while.

'Pooch Rahe Hai' follows next which is about a woman who has found love but is apprehensive about letting it be known to others. A story is being told by means of this 'mujra' that should be making an appearance at an important point of the film. Conveying a lot through lyrics in which Alka Yagnik immerses herself completely while her rendition, 'Pooch Rahe Hai' has the usual arrangements as per the setting of the music so far and helps take the story forward.

For the first time in the album, someone other than Alka Yagnik is heard rendering a solo with Richa Sharma holding the mike for 'Agle Janam Mohe Bitiya'. Pain is exuded in the right amount with this sensitive track which is about a woman praying to God not to give her a girl child in her next birth. Anu Malik spends more than a couple of minutes to set context for the song before handing it over completely to Richa Sharma to croon the situational track that should form a part of the background score. A seven-minute track, one can expect it to be played at numerous juntures in the film.

Anu Malik's daughter Anmol Malik makes her debut as a playback singer for the same song [Agle Janam Mohe Bitiya] with a different setting as this time around the daughter herself prays not to be born again as a girl. Rawness in her voice clearly shows in this song sung in a low pitch as there are a couple of moments where her lack of experience is apparent. For the situation this shorter version may work well since in all probability this seems to be for the younger Umrao Jaan.

Another short number (just around 2 minutes) follows in the form of 'Ek Toote Huye Dil Ki' which is a slow paced sad track about the lead protagonist who is heartbroken. With lyrics and rendition holding the center stage, Anu Malik goes easy on the orchestra and keeps it just bare minimum to let the words do the talking - literally! Seeming to be a prelude for some other track to follow in the film, it is for the situation and should keep you interested in the narrative. There is a 40 seconds 'Foreword' by Javed Akhtar to come in the end that introduces the heritage of Lucknow, Umrao Jaan and her ghazals through a brief narration.

'Umrao Jaan's in undoubtedly a superlative effort by Anu Malik as he goes all out in creating a score when the world was waiting to lynch upon him if he made the slightest of errors. But to his credit, his effort shows as he immerses himself completely in the era of 'Umrao Jaan' and creates an ambience that takes one to a world of the past. In today's music scenario when a couple of albums release every week and at least one big soundtrack arrives every month, one can't claim if 'Umrao Jaan' may have enough retention to go down as a classic. But if one has to analyze some of the best albums of the year 2006, 'Umrao Jaan' would indeed go find a place in the top bracket.

The wait has finally ended!

KABHI ALVIDA NAA KEHNA has generated tremendous heat within and outside the film industry. It's not the star cast alone that has resulted in unparalleled, unmatched and unprecedented craze for the film. It's also the person seated on the director's chair that makes KABHI ALVIDA NAA KEHNA special. Very special.

With KUCH KUCH HOTA HAI and KABHI KHUSHI KABHIE GHAM, his directorial accomplishments, Karan Johar has set such high standards that an all-important question crosses your mind as you walk into the screening: Will Karan surpass his own achievements with KABHI ALVIDA NAA KEHNA?

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KABHI ALVIDA NAA KEHNA is also an acid test for Karan for yet another reason. It's the first time that Karan has changed tracks. Agreed, the supremely talented director has tackled romance and relationships in the past, but KABHI ALVIDA NAA KEHNA goes a step further. It takes a bold look at relationships and makes an equally bold statement on the institution of marriage.

Just don't expect KABHI ALVIDA NAA KEHNA to be a typical candyfloss entertainer. Or an archetypal fare that Bollywood is known for. In those 3.06 hours/22 reels, Karan packs in some solid stuff. And the conclusion to the story is bound to hit the orthodox elements hard. A film like KABHI ALVIDA NAA KEHNA is sure to have its share of advocates and adversaries no doubt, but it's a film that has the courage to say what it believes in.

There are bound to be comparisons with films of similar genre. But let's put certain myths to rest at the very outset. The story revolves around two couples, but it's not CLOSER [Julia Roberts, Jude Law, Natalie Portman, Clive Owen], it's not SILSILA either. The speculation should end there. Karan's take on relationships is fresh, bold and innovative. It takes you by surprise. It shocks you as well. And it's also trend-setting.

Frankly, a film like KABHI ALVIDA NAA KEHNA is akin to a big gamble. The subject matter has to be treated cautiously and delicately, or else it can boomerang badly. It might even hurt the sensibilities if entrusted in wrong hands. But Karan's skilled directorial abilities take the film to a different level altogether. The film charters a novel path as it progresses and gets bolder gradually.

In a nutshell, KABHI ALVIDA NAA KEHNA bears the unmistakable stamp of a genius -- Karan Johar. The master storyteller only polishes his skills further, proving yet again that he's a forward-thinker and also, a progressive storyteller.

KABHI ALVIDA NAA KEHNA narrates the story of two families -- Sarans and Talwars -- both not connected to one another. But circumstances bring them together. Dev Saran [Shah Rukh Khan] has an uneasy and troubled relationship with his wife Rhea [Preity Zinta] and son Arjun [child artist Ahsaas]. He resents his wife's growing success and in the process, ends up turning all his anger towards his loved ones.

Maya Talwar's [Rani Mukherji] relationship with her husband Rishi [Abhishek Bachchan] is layered with a lot of self-doubt and question. She is unable to whip up enough passion for Rishi and is disappointed that her love for him does not match her own expectations of what it ought to be. This dilemma pulls her further apart from him, thereby causing a strain on their marital life.

One fine day, Dev and Maya's path cross each other…

KABHI ALVIDA NAA KEHNA starts like a nice romantic drama, with Abhishek getting married to his childhood sweetheart and SRK talking to his wife about the $ 5 million deal after he has won a game of soccer. But minutes later, the film does a 180-degree turn and establishes the friction between the two couples.

The tension between the couples surfaces gradually, but reaches the crescendo 20 minutes before intermission. The spat between SRK and Preity on one hand [Preity: “I wear the pants in this house”], followed by the heated argument between Abhishek and Rani [Abhishek: “You can't even bear a child”] is amongst the most remarkable portions in the film. These sequences hit you like a ton of bricks!

It's not that the first half is laced with tense-filled moments. In fact, the first hour-and-a-half has light portions in abundance. Amitabh Bachchan's philandering lifestyle provides ample moments of laughter and of course, eye-candy, what with some gorgeous firang babes jumping out of the closet.

In the post-interval portions, infidelities occur, betrayals are discovered and the couples' worlds go upside down. The sequence at the dinner [Sr. Bachchan hosts a sit-down dinner on Kiron Kher's birthday], when SRK expresses his feelings, or when SRK opens up to Preity and Rani to Abhishek about the affairs are master strokes from the writing and execution point of view. Note another scene: SRK waiting with a bouquet of roses for Rani and by a sheer coincidence, Preity walks in at that time at the signal crossing. This sequence [it depends on treatment alone] deserves distinction marks.

The end is powerful, but disturbing. Disturbing for those who believe in the age-old traditions. The film moves about in a serpentine fashion. Just when you thought that the couples have decided to go separate ways, there's another twist in the tale and yet another, in the end.

Karan Johar takes colossal strides as a storyteller. Films like K.K.H.H. and K.K.K.G. were the tip of the iceberg. Karan's take on relationships and marriages is refreshingly different because there's tremendous identification with the characters. You see it happening all around you these days. Technically too, this is Karan's finest work to date; he balances style and substance beautifully.

KABHI ALVIDA NAA KEHNA is not a date film and the writers [Karan Johar, Shibani Bathija] spell it out at the very outset. The screenplay balances the two extremes -- light moments and dollops of emotions -- with amazing ease. The relationship between the couples or even those between the parent and child [the Bachchans] is delicately handled. If there are moments that move you to tears, there are ample moments that bring a smile to your face as well. Another noteworthy aspect is its forthright dialogues [Niranjan Iyengar]. The lines sound straight of life and there also exist a host of interesting observations. Yes, the film is talky, but in a smart way. You never feel that the characters are talking to hear their own words or to fill up screen time.

Anil Mehta's cinematography is awesome. The film has been filmed in New York and the lensman captures the various seasons and colors with gusto. The outcome is easily comparable to the best in Hollywood. Shankar-Ehsaan-Loy's music is melodious. 'Mitwa', 'Rock N Roll Soniye' and 'Where's The Party Tonite' appeal also due to the vibrant choreography [Farah Khan]. The styling and the production values are topnotch. Editing could be tighter. A bit of trimming, in the first half mainly, would only sparkle the film further.

In KABHI ALVIDA NAA KEHNA, the actors get a chance to shine and no one shines brighter than Shah Rukh Khan. Let's just state one thing here: This is SRK's finest work after D.D.L.J. His sequences with Preity specifically, when the couple has their spats, or in the climax, when he just stares at Rani from inside the train, proves that he's undoubtedly the best in the business. The ferocity with which he delivers his lines and the restless energy he imparts to his character electrifies every scene that he's in.

Rani is remarkable yet again. In fact, if you consider BLACK to be her most memorable performance so far, then watch her in KABHI ALVIDA NAA KEHNA. This surpasses her work in BLACK or VEER-ZAARA and PAHELI. Her makeup as well as her overall appearance is tremendous. She's never looked as good before!

It would be unfair to describe either Abhishek Bachchan or Preity Zinta's performances as 'lesser'. Abhishek is brilliant, especially when he gets serious towards the end. His penultimate sequence, when he gives a golden advice to Rani, is outstanding. Preity not only looks gorgeous, but the dedication to her role shows at vital points. Her penultimate scene with Rani, when she confronts her at the marriage reception, is fabulous.

Amitabh Bachchan is in superb form. The naughty streak that he displays soon disappears in the second half, when he realizes that something is amiss. In fact, his expressions at the dinner first and also in the hospital only reiterates the fact that he's an icon. Kirron Kher excels in a brief but significant role. Arjun Rampal looks perfect for the part. Kajol and John Abraham [both appear in songs] add to the glamour quotient. Child artist Ahsaas looks cute and acts well.

On the whole, KABHI ALVIDA NAA KEHNA is an outstanding film from the writing, performance and execution point of view. It has style, substance, it takes challenges and doesn't follow formulas -- and that is its biggest strength. At the box-office, the film will embark on a hurricane-like start, establishing new records in days to come. The first weekend will be superb, while the weekdays [15th and 16th August are also holidays] will result in a record-shattering first week billing. With no opposition in sight for the next few weeks, KABHI ALVIDA NAA KEHNA will have a dream run at the box-office. Its business in Overseas will also be remarkable. Has the potential to prove the biggest money spinner in this territory.

From saas-bahu sagas to ghar-ghar ki kahani, there's an overdose of parivaar, sanskaar and takraar on Indian television. So, if a film-maker attempts a story that has already made the rounds of Indian television or has been beaten to death on the big screen, the impact is bound to be minimal or, perhaps, zilch.

The problem with SHAADI KARKE PHAS GAYA YAAR is not just its oft-repeated storyline, even its look is jaded. It brings back memories of the cinema of 1980s: Flashy clothes, jazzy styling and gaudy sets. Moreover, the film has taken a long time to hit the screens and the common man is well aware of this fact -- something that goes against the film completely.

So does the star presence of Salman Khan and Shilpa Shetty salvage the show? Not really!

In these fast-changing times, when 'think out of the box' is the keyword to success, a film like SHAADI KARKE PHAS GAYA YAAR comes across as an outdated and obsolete concept. The film would've worked, perhaps, had it released a couple of years ago. Not today!

Ayaan [Salman Khan], from an upper middle class family, falls in love with a model, Ahana [Shilpa Shetty], belonging to a liberal, ultra-rich family. After a passage of time, the two get married. Both Ayaan and Ahana look forward to a blissful and contented married life.

But the future has something else in store for the duo. Ahana gradually discovers that there is a cultural difference between her upbringing and Ayaan's family. Small differences crop up, which eventually lead to major confrontations between the two.

Can Ayaan maintain his cool and bring his wife and family under one roof?

SHAADI KARKE PHAS GAYA YAAR is a khichdi of several successful films. There's a bit of HUM AAPKE HAIN KOUN, a dash of RAJA HINDUSTANI and traces of the South socials starring Jeetendra, which enjoyed tremendous popularity in the 1970s and 1980s. Nothing wrong if you are inspired by your peers or interesting films, but the problem is that a film like SHAADI KARKE PHAS GAYA YAAR comes too late in the day.

The conflict between a bahu and her in-laws or the bahu's uppity mother posing problems is definitely not novel. In fact, one presumes that director K.S. Adhiyaman must've used all popular family socials as reference points before writing the script of this film.

SHAADI KARKE PHAS GAYA YAAR is plagued by one more problem. There are songs and more songs, whether or not the situation demands. And the situations are the same that you encountered in the 1990s: The hero starts dreaming and suddenly breaks into a song in London or the heroine gulps a few pegs of alcohol and breaks into an angry song.

Any redeeming aspects? Yes, of course! A few sequences between the couple -- Salman and Shilpa -- catch your attention. Agreed, we've seen similar situations before, but they keep the interest factor alive…
The first tiff between Salman and Shilpa -- when they return from their honeymoon and Salman's family gathers to see the goodies that they've picked up while shopping -- seems real.

Another sequence that stands out is when Salman breaks down upon learning that Shilpa has had a miscarriage and how Salman's mother Reema pacifies him and explains the truth [he thinks, she has aborted the baby].

The sequence after the party -- when Salman persuades Shilpa to return home -- keeps you involved.

But Adhiyaman loses track as he nears the completion post. The court decides to give the warring couple ample time to reconcile their differences and Salman starts staying in Shilpa's house. The entire track of Salman and Mohnish Bahl keeping a watch on Shilpa's eating habits et al looks plain ridiculous.

Directorially too, Adhiyaman's storytelling seems old-fashioned and archaic. Or, perhaps, he's obsessed with Sooraj Barjatya movies. The songs [Sajid-Wajid, Daboo Malik] are okay, with a couple of average tracks -- 'Taro Ko Mohabbat Ambar Se' and 'Kuch Bhi Nahin Tha'. Cinematography is passable.

Salman looks as if he has just walked out of the Rajshri set. His depiction of Mr. Goody Goody reminds you of his part in H.A.H.K. and HUM SAATH-SAATH HAIN. Shilpa's role has negative shades and she plays the wicked wife well. The film has a number of actors in supporting roles, but the ones who stand out are Supriya Karnik [first-rate] and Shakti Kapoor [effective]. Reema Lagoo is too repetitive. Mohnish Bahl gets no scope. Kunika and Aasif Sheikh are passable.

On the whole, SHAADI KARKE PHAS GAYA YAAR is a stale and outdated fare which reminds the viewer of the cinema of 1980s. At the box-office, this one's a non-starter.

y Taran Adarsh, May 26, 2006 - 16:55 IST

The industry has been thirsting for a good film that works at the box-office as well. With a majority of Hindi films sinking faster than Titanic, all hopes are pinned on the first big release this summer: FANAA. Quite naturally, the expectations are humungous and there're two vital reasons for it: Yash Raj and the principal star cast.

A Yash Raj film is special. The illustrious banner has cemented its position as the Numero Uno production house by churning out memorable films and successfully transporting us to a world of make-believe in those three hours, over the years. And if the avant-garde production house teams Aamir Khan and Kajol -- two of the finest talents of Indian cinema -- together for the first time, you expect nothing short of a landmark film.

Now to the question every avid moviegoer is curious to ask: Does FANAA work? Does this much-hyped film live up to the colossal expectations? Is it worth the price of the ticket?

FANAA is one of the finest products to come out of Yash Raj. In fact, it wouldn't be erroneous to state that it's one of the most accomplished products to hit the Indian screens in a long, long time. The film works on every level: script, music, visuals, technique and yes, the performances.

It would be gross injustice if one overlooks the contribution from the captain of the ship: Kunal Kohli. While Kohli showed a meteoric rise as a teller of tales in HUM TUM, he establishes himself as a master storyteller with FANAA. Kohli catches you by your finger, introduces you to Rehan and Zooni, makes you peep into their lives and also the varied emotions they experience -- from joy, elation, euphoria and contentment to grief, distress, sorrow and anguish. And at the end of the day, the proficient craftsman narrates a story that leaves you with a tear in your eye and a smile on your face.

In short, FANAA is not just worth the price of the ticket, but also the price of the samosas, popcorn, sandwiches and soft drinks that you stock up in your lap while watching the film. In short, FANAA is an experience to cherish!

Choices... to choose between right or wrong is simple, but what defines one's life is the decision between the greater of two goods or the lesser of two evils. This is the advice that Zooni [Kajol], a blind Kashmiri girl, receives from her father [Rishi Kapoor] just as she is about to venture into the world on her own for the very first time. Little does she know that these very words will shape her life.

Zooni meets Rehan [Aamir Khan], a local tour guide and an incorrigible flirt, who goes from city to city exploring their architecture as also the women. Her friends warn her against this good-for-nothing roadside Romeo, but she chooses to ignore them. She is not the one to be protected. It is now her time to discover life and love.

Rehan is fascinated by Zooni. He truly wants her to see life as it should be seen, in its many colors -- and he promises her, the time spent with him will be the most precious in all her life. Zooni sees Delhi, life and love like she never has before, because of Rehan.

What Zooni doesn't know is that there's more to Rehan, the other dark side of his life that he has kept away from her… something that cannot only change her life, but also destroy it.

Originality is a prized commodity because there is so little of it in Bollywood these days. Of late, critics [and non-critics, for that matter] are fond of complaining about how cineplexes are populated by motion pictures that follow safe, formula-derived patterns, designed to please audiences who want a different version of a story they have already seen dozens of times. While there's some truth to the maxim that 'There's nothing new under the sun,' FANAA is an exception.

The initial portions of FANAA may give an impression that it's one of those archetypal Hindi films that follow the similar route of boy meets girl, romance blossoms, song-n-dance routine…, but there's more to it as it unfolds. The terrorism aspect, the emotional moments in the post-interval portions and the climax specifically hits you like a thunderbolt. FANAA is powerful and disturbing stuff. It is not for those who strongly believe in fairy tale endings. While hearts and flowers are great for a fantasy, this is the kind of expression of emotion that touches a deeper chord.

Any blemishes? The length and the pacing. Most of the times, three hour movies have a few flat spots and FANAA is no exception. The film tends to get very lengthy and also, the narrative tends to get very slow towards the second half. Slight trimming would help tremendously.

The writing [screenplay: Shibani Bathija] pushes the envelope, taking us in new and unexpected directions. Every time you thought you recognized where the story was headed, the movie surprises you. Cinematically speaking, this is a well-balanced, multi-course meal. Dialogues [Kunal Kohli] are excellent, specially the shayari throughout the movie. FANAA is gorgeously composed and photographed by cinematographer Ravi K. Chandran. The locales of New Delhi and Poland enhance the visual impact.

Music [Jatin-Lalit] is pleasing to the ears. 'Chand Sifarish' and 'Mere Haath Mein' are two melodious gems. 'Chanda Chamke' [the tongue twister] appeals because it comes at a time when you yearn for some relief. The action scenes [George Aguilar ], in minimal doses, are kinetic and exciting. Background score [Salim-Sulaiman] is topnotch. The sound quality [Dileep Subramaniam] is excellent. Visual effects [Tata Elxsi] could've been better, especially the blasts of the helicopters.

The acting is of the highest caliber. In fact, most performances in the enterprise are perfect -- no hints of artifice or fakery. Yet, there's little doubt that one of the assets of the film is the chemistry between the lead pair. For Aamir, FANAA is another opportunity to broaden his range. He successfully buries his personality beneath Rehan's, allowing the character to come to the fore. The ferocity with which Aamir delivers his lines and the restless energy he imparts to his character, electrifies every scene that he's in.

It's an altogether different experience watching Kajol after a hiatus. It is her complex work, depicting a woman torn by love for and fear of the same man, that elevates the film to a higher level. Without doubt, FANAA ranks amongst her strongest works. Her performance only makes you realize why she's still the best in the business. Moreover, she looks gorgeous all through!

Rishi Kapoor is efficient. Kiron Kher is lovable. Tabu gets limited footage; she's just okay. Shiny Ahuja is wasted in an inconsequential role. Ditto for Lara Dutta, who is there for just one scene. Shruti Seth is excellent as Kajol's friend. Satish Shah, Sharat Saxena, Lilette Dubey, Jaspal Bhatti and Vrajesh Hirjee are effective. The child artist is fantastic.

On the whole, FANAA is a beautifully written, effectively acted and meticulously crafted effort that is likely to remind many viewers of a simple axiom: A movie doesn't have to be groundbreaking to be compelling. At the box-office, the film has already embarked on a record-breaking start and thanks to [i] the massive print count, [ii] the 12-14-16 shows being performed at movieplexes every single day and [iii] the inflated ticket rates will yield rich dividends in days to come. The first weekend business will be historic, the first week billing will be unprecedented and in the wake of no major oppositions for the next two weeks, FANAA will attain the 'Hit' status in a matter of days. In short, FANAA is yet another landmark film in the remarkable and enviable repertoire of Yash Raj.